Empress Theodora, Theodoric the Great, Mary Magdalene
and the Rennes le Chateau Mystery.
It is possible that the Cult
of Mary Magdalene developed in part from the legacy of St. Andrew via an
appreciation of Constantine but filtered through the dynamics of the Byzantine
court of Emperor Justinian I and his Empress Theodora. It does appear as if
Empress Theodora had injected a degree of Gnosticism and Coptic teachings into
the Byzantine Court. Both Empress and Emperor were likely aware of the true
meaning of the Labarum symbol and its association with both Constantine and St.
Andrew. The reign of these two rulers would see a great deal of turmoil but
would also see the Empire restored to its greatest size since Constantine had
ruled. There are many parallels between the life and philosophy of Theodora and
what may later be termed a belief that Mary Magdalene had been married to Jesus
and had bore his Children.
It is clear that Constantine
had a value of the sacred feminine in some of the architecture that he
constructed upon the founding of Constantinople. The Forum of Constantine was a
magnificent structure located west of the Daphne Palace and future site of the
Hippodrome of Theodosius and its Egyptian obelisk and tripod from Delphi known
as the “Serpents Column” today. The Forum of Constantine was a circular
monument that resembles in some ways St. Peter’s Square of the Vatican today
which is more oval in plan. The central feature of the forum was known of as
Constantine’s Column.
It is this monument of
Constantine that may help to clue us into the Emperor’s value of both Pagan and
Christian feminine concepts. The column itself was typical of monuments that
had been constructed by other Roman rulers such as Trajan. Constantine’s Column
was said to have been over 150ft. in height and was topped with a statue of the
Emperor nude holding what appears to be the Spear of Destiny, dressed as Apollo
while holding a sphere in his other hand. The sphere included in this statue
was said to have held a portion of the One True Cross of Christ that had been
procured from Jerusalem by Constantine’s mother Helena. The Forum of
Constantine also included a shrine or memorial that also included other relics
including fragments of the crosses of the two convicts that were crucified
beside Christ. The Baskets from the loaves and fishes miracle were also
included in this kind of early shrine and museum.
Constantine built this
column in about 330 to commemorate the founding of Constantinople. The
establishment of his capitol originally known as “Nova Roma” would involve two
of the most sought after Christian relics of history. The founding of the City
involved a ceremony during which Constantine traced out the Royal District of
the city using the spear of destiny as his plowshare. Traditionally land was
sometime demarked by how much of it could be plowed in a day. This ceremony
seems to echo this tradition. Through history this ceremony is visible in the
dedications of the Paris Observatory and a small town in California named Chico
whose founder John Bidwell utilized the same tradition. Over time this rite may
have become part of the founding of cities somewhat similar to the
establishment of a building by the laying of the corner stone ceremony. This
ceremony may be referred to in the statue of the Emperor atop his column in
which he is holding what may be the Spear of Destiny.
The sanctuary or temple that
was associated with Constantine’s Column also included two interesting items
one associated with Mary Magdalene herself and the other a symbol that would
come to be associated with her over time. The shrine at the forum also included
what was said to have been the anointing jar of Mary Magdalene. The temple also
included the wooden Palladium or statue of Pallas Athena that had been present
at Troy at the time of the battle. The legacy of Mary Magdalene along with the
symbol of Pallas Athena would be valued by a variety of people through history
who may have known the truth of what Constantine had believed. As we see along
the path the symbols of AVM, X, and the Chi Rho including the Alpha and Omega
may have been valued by a series of families and descendants who used them to
communicate their true beliefs regardless of any superficial allegiance to the
Catholic Church with they did value in tandem.
Here at the Column of
Constantine we may be seeing the beginnings of a long legacy of value of the
Jesus Christ, Mary Magdalene, St. Andrew, and St. James that had begun with
Emperor Constantine himself. Both of these Pagan Analogues of Mary Magdalene
may have contributed to a value of her on the part of former Pagans who saw her
as a metaphor for their values. Constantine himself may have viewed Pallas
Athena as a metaphor for Mary Magdalene. Later we may see an almost identical value
on the part of Sir Francis Bacon and even Thomas Jefferson who built octagonal
structures in the tradition of Constantine.
Through an interesting chain
of events we may see how this portion of what would come to be known of as the
Holy Rood may have also been possessed by a series of powerful women who had
carried on a value of Mary Magdalene as defined by Empress Theodora herself. It
may also be possible that they possessed other relics from Constantine’s Column
or the Hagios Constantinus as some sources refer to the shrine. The Wisdom of
Constantine may be an appropriate name for a memorial that reveals so many
things about what the Emperor believed to be true. It is possible it is the
truth of Constantine and what he believed was found by different Orders of
Knights in the Latin Kingdom of Jerusalem during their occupation there. This
may also lead to the possibility that Constantine had been interred beneath the
Temple Mount with information that would have corresponded with the imagery of
Mary Magdalene and Pallas Athena seen at the Column of Constantine. (more see
“Sacred Towers of the Axis Mundi.”) It
is also more likely that this information was carried on via a secret sect that
Theodora had created herself that had many overtones and references to Mary
Magdalene included.
The later mythology
surrounding Mary Magdalene has to a large degree been influenced by the Anjou
Family. It is also clear that they were
privy to the directional attributes of the octagons that Frederick II had constructed
and their associated templum or sphere of control. Basilica St. Maximim is a
monument to their knowledge of this in the way that St. Michaels Tower octagon
points to this place. It is almost as if Charles II had chosen this place to
find Mary Magdalene’s remains along an arc suggested at St. Michael’s Tower at
Monte ‘Sant Angelo Italy.
The story of St. Maximim
displays a well accepted version of a story that includes Mary Magdalene’s
remains having been there since the first century. It is true that Christianity
did come to France at a very early stage in its development. This region far
from Jerusalem and the Holy Land may have been seen as a good escape for those
being persecuted there after the Crucifixion. It is not hard to believe that
there is some degree of truth in the stories of Mary Magdalene some of which
include the fact that she bore the children of Christ. Some stories even have
one of their daughters named Sophia.
Via the Anjou’s values of
Mary Magdalene it seems that the culture of her took on more significance than
that of St. Andrew in their eyes. There may be many rational reasons for this
difference in value. Values of both Mary Magdalene and St. Andrew are based on
apocryphal information or beliefs that were not included in the Canon of Nicea
or later agreements. While the Anjou’s still knew of and valued the Imperial
value of St. Andrew and his cross in the form of the Labarum something about
this whole story still inspired them to hold the idea of Mary Magdalene in high
esteem at a time when they were very influential Christian Catholic Kings
associated with the Holy Roman Empire and the Vatican. Whatever context they
seemed to be valuing the Magdalen in also seemed to be not interfered with on
the part of the Vatican. Is it possible that the Anjou’s had a gnostic view of
Mary Magdalene or did they view her in the same context the Catholic Church
does? Was this value a rejection of standard Church doctrine?
Even if the stories of
Saintes Maries de La Mer and the Merovingian Bloodline are not associated with
any reality there has to be a reason all these myths and legends were
developed. There has to be a cultural root to all of this Magdalene mania and
it seems likely it may be associated with a phenomena or historical scheme
similar to what had created this view of St. Andrew and a value of his X. In
fact there is one prime candidate to have propagated the value of the Sacred
Feminine at a time of history that saw a great deal of influence from powerful
Women rulers.
To examine these possibilities
we may look no further than Empress Theodora co-regent of the Byzantine Empire
with her consort Emperor Justinian I. Justinian I was a proponent of the
Chalcedonian view of the divinity of Christ being one with his being. Empress
Theodora on the other had was a follower of what was known of as the Miaphystic
view that Christ was a man who had been divinely inspired yet lived like a man.
This part of Theodora’s beliefs were influenced by her family and the places
she had been. It is clear that Empress Theodora was an adherent of a more
Eastern Coptic Christian belief. These beliefs may have exposed her to more of
the concepts of Christianity people like Constantine’s Mother St. Helena
believed thus also influencing Constantine’s view of Christ.
Theodora’s life story is
very similar to some of the aspects of Mary Magdalene’s life that may have been
applied to her legacy in part to smear her reputation. Many people point to the
fact that Mary Magdalene was known as a prostitute because of a mix up in the
bible between a Mary that anointed Jesus and another that was a follower or
disciple of his. It is possible that in a kind of silent war to smear the image
of Mary Magdalene she has been cast as a harlot and prostitute. Some people
also point to the common custom of temple prostitution as a normal requirement
for any women of that culture at various times in antiquity.
Theodora came from the
family of a Bear Trainer of the Blue faction of the Hippodrome of Theodosius in
Constantinople. She has also been cast as a prostitute in history yet there may
be more reason this is at least partially true with regard to the Empress.
Theodora was an actress and “dancing girl.” The job description of actresses
and dancing girls in this era often included sexual services for a fee a.k.a.
prostitution. Some Roman historians make a large distinction between an
“actress” of this era and a prostitute managed by a pimp in a brothel.
During the later part of
this phase of Theodora’s youth she at some point also spent a few years in
Alexandria Egypt where she became an adept of the true Egyptian Coptic form of
Christianity that had not been included in the Canon of Nicea but had still
survived in some of the fringe regions of the Byzantine Empire. Egypt is
especially known for the advent of monasticism and its remotely located Coptic
Churches and Monasteries. All monastic orders owe their origins if only in form
to the monks of the Egyptian Coptic Faith. It is possible that via her study
and belief in this very early form of
Christianity that Theodora had come to value the story of Mary Magdalene and
how she had bore Christ’s Children and fled to France.
It is even possible that
Theodora’s value and knowledge of Mary Magdalene had later started a spark that
would ignite a fire of curiosity and respect for her on the part of the Kings
of Naples and Sicily who were also descendant of the Hauteville line of
Normans. The ignition source for any examination of how Theodora may have
valued the concept of Mary Magdalene has to be the amazing architecture and art
of Basilica San Vitale in Ravenna Italy. The entire story seems to be told at
San Vitale. It is possible if not likely that Theodora and her successor Sophia
had taken steps to preserve the legacy of Mary Magdalene as they valued it.
Basilica San Vitale is home
to some of the most amazing and colorful mosaics ever produced in history much
less antiquity. These masterpieces of the mosaic craft were constructed in the
mid sixth century completion of Basilica San Vitale. One could write an entire
book on the biblical and hidden meaning of these grand artworks yet we will
limit our discussion to three of the most prominent mosaics including those of
Justinian I, Theodora, and Christ.
The mosaic of Christ
Pantokrator presents Jesus to us in his form as envisioned in the second
coming. He is beardless with short hair wearing Byzantine Royal purple robes.
He is holding the Seven Seals of the Apocalypse in his left hand. None of them
have been opened yet in this work. In this way the entire piece combines with
the octagonal shape of the building to present us with a temporally themed
Eastern Christian millennial monument. Note again that San Vitale was built
over 100 years prior to the said date of construction for the Dome of the Rock.
In a very real way San Vitale’s octagonal design was likely inspired by
Constantine who had also likely built an octagonal structure that was ruined
and rebuilt as the Dome of the Rock utilizing the hidden hand of later
Byzantine ruler Justinian II. There are indeed metaphorical hints in the legend
of Charlemagne’s Crypt that indicate a value of Justinian II on the Emperor’s
part.
It is important to note that
though Ravenna is part of what is considered Italy today it was once made the
center of all Christian faith in this era prior to the formation of the Vatican
and Catholic Church we see today. Ravenna was actually developed in large part
by Ostrogothic ruler Theodoric (some spellings show Theoderic) who had also
refurbished the Peace Temple of Vespasian in Rome. Theodoric as well as the
majority of Goths in general were adherents of the Arian faith which held many
similar tenets in common with the Coptic beliefs of Empress Theodora. Many of
the Empresses beliefs are illustrated in the mosaics of San Vitale along with
the opposing beliefs of Emperor Justinian.
Theodora herself made an
attempt to help prostitutes by making it harder on those that took advantage of
these young women. The tradition of dowry’s and they way marriages were
arranged in this era made it hard for poor women to make a good match that was
attractive to a suitor who would usually take the bride with the largest dowry.
Theodora attempted to give
many of these women a trade in the weaving industry. This is also interesting
in the many legends of the “Weavers” who are said to hide hidden historical and
spiritual information in the design of their work. Many of the women Theodora
saved from prostitution also became nuns. This factor could have also served to
instill a value of the feminine in certain sects of Eastern Christianity. This
may hold especially true if Theodora had an involved role in the creation of
whatever orders these nuns were a part of. Many of these nuns were also trained
to weave as Theodora had become a weaver prior to her marriage to Justinian I.
It is said Theodora adapted the art of weaving to escape prostitution. At this
time she was noticed by Justinian I. He did not know her when she was a
prostitute according to some sources. Others say he was aware of this and did
not care.
The weavers also were part
of an organized trade guild somewhat similar to early stone masons. It is
possible that via this trade guild composed mostly of women that the concept or
truth of Mary Magdalene was preserved via an appreciation of her on the part of
the Empress. It may be that the weavers preserved this basically Coptic view of
Mary Magdalene that may have also later translated to the Arian faith of
Theodoric of Ravenna. All of this lore was later applied to the legends of
finding the remains of the Mary’s and Mary Magdalene at St. Maximim and later
Saintes Maries de La Mer by the Anjou’s.
It does appear as if Charles
II (Anjou) and Rene’ Anjou were acting on information they had found telling
them of the importance of these places as opposed to the visions and dreams we
are told led these men to such important places. They had become privy to or
thought they had some information they trusted telling them of these things.
Had they gotten this information from the weavers of Theodora? Many aspects of
the beliefs of the Cathars in France also seem to bear the influence of both
Mary Magdelene and Theodora.
In each case of these hidden
values we are seeing nobility value and preserve apocryphal Christian
information that was contrary to the canon of the Church. This in turn caused a
kind of mystery school secret cult or society centered around St. Andrew and
Mary Magdalene. The earlier influence of Empresses Theodora and Sophia
solidified the female role in this belief system, which served to further
alienate those with these beliefs from the greater Church. In this way the
Cross of St. Andrew and the so called “Black Madonna” became symbols
appreciated in a way that only adepts of their history and context could truly
appreciated. Among those that understood this “language of the birds” were many
of the equestrian Orders of the Middle Ages such as the Knights of St. John,
and the Knights Templar.
It is clear that Empress
Theodora and subsequently Empress Sophia (Wisdom: Athena) may be responsible
for the survival and popularity of the mysteries of Mary Magdalene to this day.
It is clear that their Coptic belief system allowed for a value of Mary
Magdalene that may have included her being an apostle and wife of Christ. This
theory is suggested and stated in the scraps of the Gospel of Mary Magdalene
discovered at Nag Hammadi in Egypt.
It is also important to note
that many of these Coptic beliefs had already come to Europe via the exploits
of the Theban Legion of St. Maurice in about 286. This Egyptian Legion
comprises many of the earliest saints of Europe. They were a Christian Legion
that came to Octoduram in what is today modern Switzerland. This legend
involves the defeat of the Theban Legion and the subsequent hunting down and
killing of the Christian invaders who refused to denounce their faith. It is
clear that this story has many mythical and legendary qualities but it may be
assumed that some of the Legion survived and may have spread these Coptic
beliefs that they had brought from Thebes, Egypt to Europe at a very early
date. The largest connection to Theodora and our theorized Magdalene acolytes
is the fact that St. Maurice is also known of as the Patron Saint of Weavers.
Via the tale of the Theban
Legion we may also see a distinct appreciation of the Chi Rho symbol including
the Alpha and Omega symbols that would later be hidden in the imagery of Mary
Queen of Scots and others. Merovingian coinage displays a distinct value of
this version of the Chi Rho and depicts their rulers wearing garb almost
identical to that being worn by Justinian I and Empress Theodora in the mosaics
of San Vitale. It may be that even the Merovingian thought they were related by
blood to Byzantine rulers. These values are also evident in the actions and
artwork of Mary Sidney and Mary Queen of Scots in the sixteenth century. The
personage of Queen Elizabeth herself is also suggestive of a value of these
feminine oriented concepts that ran contrary to the doctrine of the Catholic
Church.
Later Charlemagne would also
display many examples of his obsession with the Byzantines including
Constantine, and Justinian I and II. The Chi Rho is plain to see on the Coptic
Tunic Patch of Sophia in Theodora’s mosaic at Basilica San Vitale in Ravenna.
It is likely that Theodora was aware of and appreciated the image and story of
St. Maurice and the Theban Legion. The story of St. Maurice would also later
have an impact on the strange tale of Sion, Switzerland and Chateau Tourbillon
(Chateau Vortex, yes true).
Given everything we have
learned about Theodora is it possible that she even personally took steps to
insure the culture of Mary Magdalene would survive? It is possible that the
powerful Empress could have created a mechanism or mystery school that insured
the survival of the concepts of Mary Magdalene. Later the information included
by her may have been found an appreciated by the Anjou’s who seemed to love the
Magdalen so much. It is possible that part of this mystery school of the
Magdalen involved an appreciation for the mosaic of Theodora and her Court seen
at Basilica San Vitale. This mosaic contains clues as to the true beliefs and
values of the Empress. It is also entirely within the realm of possibility that
this information had been told to the Anjou’s by a specific order of nuns and
monks who had cloistered this information for over six hundred years at this
point.
The mosaic of Theodora at
San Vitale is opposite a similar rendering of Emperor Justinian yet there are
distinct differences in both mosaics that display the differing views of
Christianity held by the two. The imagery of Justinian’s mosaic shows that he
is adherent of the standard Eastern faith of the time not dissimilar in its
view of Christ to that of the Latin Church with regard to his divinity. He is
shown with his priests including Eccleseus who is holding a model of Basilica
San Vitale in his hands. All of the figures in both mosaics are noted for the
appearance of the figures floating above the horizontal plane established in
these works. This type of rendering may be to denote their regal and divine
status within the church of the time.
Theodora’s mosaic displays
her alternate Coptic beliefs in a few different ways. The rendering includes
figures representative of her Sister and Niece Sophia. Both the figures of
Sophia and her mother include the presence of what are known of as Coptic tunic
patches sewn onto their robes thus indicative of their beliefs. The designs
present on these patches may include hints that their Coptic beliefs also
included a veneration of Constantine and the Labarum symbol as well.
Theodora’s mother’s (figure
to Theodora’s left) tunic includes patches that display and eight pointed star
composed of two squares with one of them being rotated 45 degrees to form an
overlaying diamond over the square. An octagonal array being shown on a Coptic
tunic patch within an Octagonal Basilica. Here we see a repetition of the value
of the octagon as displayed by Constantine as well as in the design of the
structure where these mosaics are present. Here this design is associated directly
with those possessing known Coptic beliefs. This value of the octagon in fact
may be more associated with Constantine and a belief in a more Eastern form of
Christianity even on the part of the first Christian Emperor himself. This may
be one of the reasons that Theodora had been attracted to this form of the
faith. Theodora would have also been aware of the legacy of the octagon as it
applies to Isis, Ishtar, and the Tower of the Winds in Athens.
Theodora’s attraction to
Coptic beliefs may have also contributed greatly to a hidden belief in Mary
Magdalene on the part of subsequent rulers like the Kingdom of Aragon who even
controlled the Byzantine Empire portion of Constantinople and Greece during the
Crusades later. An examination of the facts of the retaking of Greece by the
Crusaders may reveal that they had as much of a value of this region as they
did of Jerusalem and other holy sites they had reconquered. Lost in the history
of this story is the fact that Charlemagne and other subsequent European nobles
may have believed they were related to Constantine who in turn may have
propagated the idea that he was descendant of Christ via Mary Magdalene. It may
be that Theodora held the same beliefs.
This association and
appreciation of Constantine is displayed on the Coptic tunic patch featured on
the robe of Theodora’s niece Sophia. The imagery even of Sophia’s name (Wisdom)
is redolent of the value of Pallas Athena in gnostic beliefs later in history.
This association with Wisdom and a heritage that includes the eight pointed
star of Ishtar may all in turn relate to the concepts we see being valued in
association with Mary Magdalene later during the time of the Anjou’s. In fact
the imagery of Sophia and Mary Magdalene are almost identical.
The tunic patch of Sophia
displays the sign that Constantine saw in the sky thus becoming the Labarum.
The rendering of this sign on Sophia’s robe is a more natural yet artistic
display of this imagery. The patch is composed of what appears to be a blazing
sun with an X shaped design present crossed over the central portion of the sun
overlaying a Greek Cross. This is a kind of stylized rendering of the Labarum
symbol. It is interesting that there is such a direct reference to Constantine
in this Coptic context. Note also that Justinian’s mosaic displays the standard
Labarum present on one of the shields of the soldiers present in his mosaic.
The X shaped design on Sophia’s tunic patch even appears to display the hooked
omega symbol as seen later on the Kensington Rune. If this analysis holds up it
may prove that the origins of the symbols on the Kensington stone are of Coptic
and not Norse in origin.
The theme of Sophia or
Wisdom is also central to one of the recently recovered Coptic Gospels
recovered from the Nag Hammadi texts entitled “The Sophia of Jesus Christ.”
The
perfect saviour hath said: "Come (you) from things unseen unto the end of
those that are seen, and the very emanation of Thought shall reveal unto you
how faith in they which are unseen was found in them which are seen, they that
belong to the Unbegotten Father. Whomsoever hath ears to hear, let him
hear!"
— from The Sophia of Jesus Christ
Here Christ speaks to the
hidden wisdom of those unseen that belong to god. The entire concept of Sophia
as Mary Magdalene suggests that via her something is communicated that is both
secret yet understood by “Whomsover hath ears to hear, let him hear!” Is this
suggestive that in order to hear one must already possess Sophia or Wisdom?
Some versions of this story
have a woman named Sophia actually being the daughter of Christ and Mary
Magdalene. This metaphor may have also taken the form of a female named Sophia
being the child of Mary Magdalene and Christ. This relationship also echoes the
image of the “perfected man” as displayed as the hypotenuse of a rectangle
representing the child wile the additional two sides represent the mother and
father. In this case the “perfected man” is a result of the efforts of Jesus
Christ and Mary Magdalene as the mother and father of wisdom. In this case the
“perfected man” is a woman named Mary Magdalene thus also associating her as an
apostle of Christ equal to the other male apostles. This is one of the concepts
that have contributed to an appreciation of the “Sacred Feminine” at different
periods in history including contemporary society.
Theodora is holding what may
be representative of the Holy Grail Chalice in her hands in this mosaic. This
object appears to be a large jeweled chalice. Many point to this being the
ceremonial cup used in the Eucharist. In this Coptic context we may be seeing a
very early representation of the Holy Blood or Sangraal concept we see later
associated with Mary Magdalene. Theodora is telling you in this mosaic that she
is holding the Holy Grail. In many symbolic and real ways Theodora is telling
us about the Christian mystery of Mary Magdalene and the life of Christ. To
Theodora the Holy Grail may represent the truth about Christ and the feminine
aspect of the divine as represented by Mary Magdalene. This concept has
continually been destroyed and subverted by the Catholic Church.
The fact that her niece
Sophia followed her as Empress may have been part of an attempt to perpetuate
this kind of belief that also included a view of women as ecclesiastical and
social equals in the hierarchy of Byzantine nobility at this time. After this
era we see the Latin Church with its apparently anti-female policies slowly and
intentionally attempting to wipe any form of this belief from the face of the
earth. The Latin Church was known to have destroyed as many copies of the
Gnostic Gospels as possible during their persecution of the Coptic that seems
to be continuing today in modern Syria. This ultimately is what leads us to the
Mystery of Rennes le Chateau and all of the lore of Europe associated including
according to some The Knights Templar themselves.
Theodora’s robe also
includes a rendering of the Three Magi that attended Christ at his birth. The
concept of magi and how they were spiritual and academic advisors to kings may
be part of the beliefs of the Coptics as well. This part of the belief in use
of magi or scholars figures prominently in this entire story or talismanic
architecture and art. Here it is inferred that the magi may have taught Christ some
of the mystical beliefs associated with a Coptic view. The mosaic of Christ
nearby may also hold some clues that will help us to confirm this theory.
The mosaic of Christ at San
Vitale also contains many hidden clues that Coptic concepts were at play in
what these works were meant to communicate to us. Christ is rendered as what is
known of as Christ Pantokrator. In this rendering and others of Christ
Pantokrator he is displayed beardless and with short hair sitting atop a globe
or a representation of the earth. This mosaic is similar to and from the same
age as the Tapestry of Creation located at Girona Cathedral, which also
displays a beardless and short haired figure of Christ. It is even remotely
possible that the Tapestry of Creation was made by the weaver nuns that had
been part of the legacy of Theodora. The motif of the tapestry even matches the
Byzantine date range of Empress Theodora and Justinian. It would be no surprise
to see their involvement there either. That part of Spain including Girona and
Rennes le Chateau were alternately controlled by Justinian I (Septimania) and
Theodoric the Ostrogoth.
In the mosaic at San Vitale
he is shown also wearing the Byzantine royal purple robes of Kings. In a way
this is suggestive that Justinian may have believed he was actually related to
Christ via Constantine. Later we may also see this belief perpetuated by
Charlemagne who displayed such a great veneration of Justinian and Constantine
that one may be left to ponder whether he believed this could be true as well.
Many subsequent monuments would also include a similar millennial themes to
that of Christ holding the seven seals of the Apocalypse in this mosaic. This
may also be representative of a Coptic Enochian view that the earth goes
through cyclical changes that can wipe out any civilization.
It seems as if the true
beliefs of Justinian and Theodora are being displayed in the artwork of San
Vitale all arranged in a structure in the form of an octagon possessing all the
temporal themes of the Tower of the Winds in Athens. This again is Justinian
valuing his Eastern heritage in the same way Constantine did by acknowledging
the importance of the Tower of the Winds via the use of templates to form
templum, to define the temporal fabric of a given domain.
Other architecture built by
Justinian I and Theodora may also serve to represent a value of the messages we
are being sent at San Vitale. Just south of the Daphne octagon of Constantine
that Theodora and Justinian lived in is the small church known of as “The
Little Hagia Sophia” or officially the Church of Saints Sergius and Bacchus.
This small church was built by Isodorus of Miletus and Athemius of Tralles
between 527 and 536 A.D. The project was said to have served as a prepatory
project for the much larger and Grander Hajia Sophia that began construction in
532. The Little Hagia Sophia was also an important site in the story of how
Theodora helped persecuted Mononphisite’s throughout the kingdom by bringing
many of them to the Little Hagia Sophia which became a center of this kind of
belief during the reign of Justinian I and later Byzantine Rulers. The Little
Hagia Sophia is an instrumental monument and real place of gathering for these
beliefs long after Council of Nicea had dictated them to be heresy.
The Little Hagia Sophia may
also be directly related to Basilica San Vitale in Ravenna via more than the
themes and artwork that are present at both structures. It may be more
pertinent that Basilica San Vitale which Justinian I is many times credited
with building was begun in 526 on year prior to St. Sergius and Baccus or The
Little Hagia. The Little Hagia Sophia is oriented at very close to 291/ 111
degrees true north in plan. An arc on the globe plotted from Little Hagia
Sophia at this heading transects the globe directly to Ravenna and Basilica San
Vitale. Theodora and Justinian I likely intentionally arranged this clue in the
overall mystery that associates the themes and values of Mary Magdalene in the
realm of Christianity. This may later also be associated with similar beliefs
held by Theodoric the Great and others of the Arian faith.
This association also lends
a great degree to the talismanic and directional values of the octagon of
Basilica San Vitale itself. It is clear that San Vitale was built in the
tradition of Constantine and seems to be relaying the same kind of gnostic
Christianity mixed with Pagan overtones that Constantine himself seemed to
value. Two places very important to the early value of Mary Magdalene on the
part of imperial interests that would still be seen well over a thousand years
later up into the modern world of the 21st century. The influence of
Mary Magdalene in a mystery school context is seen at many different mysteries
during many different eras of history. Through time it is clear that these
notions later became valued as part of a Rosicrucian framework that many people
who felt they had descended from Constantine, Mary Magdalene, Jesus, or his
brothers and sisters, had adapted the doctrine set forth by Theodora in the
early sixth century. Even Thomas Jefferson displayed his knowledge of this
concept in the painting of Mary Magdalene by Ribera.
Theodora had almost single
handedly salvaged these historical and spiritual views from the dust bins of
history. Opposing elements had tried to wipe this information off of the face
of the earth and Theodora had opposed them from an authoritative and powerful
position in the east. What she had accomplished is one of the most amazing and
well kept Secrets of Western History. Later Masonic, Rosicrucian, and Jesuits,
would come to value the mystery school that surrounded the figure of Mary
Magdalene. People from the most powerful rulers to the most humble Pilgrim
would come to value the concepts of Mary Magdalene as preserved by Empress
Theodora, Sophia, and other later powerful and charismatic women leaders
through history.
Is it possible that the
mystery of Rennes le Chateau, which seems to include a great deal of the
imagery of Mary Magdalene is intentionally associated with San Vitale that
seems to possess some of the same concepts? This is possible. The region of the
so called Spanish Marches of Charlemagne was controlled by Ostrogothic ruler
Theodoric who had also had a hand in the building and design of San Vitale.
Much of the imagery of the Rennes le Chateau mystery includes the “Visigothic
Pillar” present in which strange parchments were found by Saunière. In fact
this region was once controlled by “Visigoths” but the era pertinent to our
studies here may include the period in which Theodoric the Ostrogoth controlled
the region around Rennes le Chateau during which he also began construction of
Basilica San Vitale and Basilica ‘Sant Apollinaire Nuevo. All of this may add
up to a distinct value of Mary Magdalene at both Basilica San Vitale and Rennes
le Chateau somehow known of and appreciated by Theodoric and possibly Theodora
as well.
The “Visigothic Pillar” of
Rennes le Chateau also displays the imagery of the Labarum that we see later
morphing into the symbols present on the Kensington Rune and modern logo of the
College of William and Mary. The pillar includes a cross flanked by the Alpha
and Omega symbols as well as the Auspice of Mary sometimes associated with St.
Sulpice on its base. The “Visigothic” Pillar of Rennes le Chateau may actually
be Ostrogothic and meant to display the same symbology of the Labarum and
Eastern or possibly Coptic beliefs at play. These Coptic beliefs may have been
among the only ones that included a view of Mary Magdalene that resembles the
gnostic views we see of her today. The Visigothic Pillar of Rennes le Chateau
also bears a striking resemblance to the Padron (Pillar) of St. James in Irea
Flavia (Padron) Spain near Santiago de Compostela. The Padron of St. James like
the Visigothic Pillar includes an inscription that includes the word “Sion” in
it.
All of this may sum to
indicate that part of the legacy of Legio X and the Equestrian Orders involved
a belief in St. Andrew coupled with a belief in Mary Magdalene on the part of
the Frankish factions after the Cutting of the Elm in 1188. After this time it
appears that the English Norman faction gained a value of St. Andrew as
displayed in the flags of England, Scotland, and Wales, while the Frankish and
German factions developed a strong value of Mary Magdalene while still having
regard for the secrets of St. Andrew.
It is apparent that a value
of the feminine in Christianity was alive and well as late as the sixth and
early seventh century reign of Theodora’s niece Sophia. Even during this era it
is likely that their views were simply tolerated by the male dominated clergy
of both the Eastern and Latin Churches. Subsequent to this era it is likely
that the followers of Mary Magdalene had to continue their veneration of her
using the mystery school template that had worked with great success at the
beginning of the Christian era prior to Constantine.
The followers of the
Magdalene had to keep this belief a secret eventually leading to this value of
her on the part of the Anjou dynasty that preserved and perpetuated the legacy
of Mary Magdalene in many different ways. Via this association with Rene’ of
Anjou many may have mistakenly identified Mary Magdalene with the Knights
Templar. This misunderstanding may be in part due to Rene’s title as King of
Latin Jerusalem. Anjou held this title at a time when the entire former Latin
Kingdom was occupied by Muslim factions. It is also far more likely given the
noble associations of Anjou that he would be more closely associated with the Knights
of St. John, Rhodes, and Malta.
The mythology of Joan of Arc
also includes a distant link to the d’Abbadie family of the Great Cyclic Cross
of Hendaye. They once owned Chinon Fortress where Rene’ of Anjou took Joan to
first meet the French King Charles.
The Anjou’s may have gained
this value of Mary Magdalene via their Kingdom of Aragon relations who
controlled what had once been the Spanish Marches of Charlemagne including
Girona, Rennes le Chateau, San Juan de la Pena, Montserrat, Zaragoza, and likely
Hendaye as well. This belief in turn made its way to Frederick II Holy Roman
Emperor and thus to the Stuart (Stewart) family as well. The Aragonese legacy also includes the Isle
of Malta as part of its dominions traditionally and they controlled it up until
the time it was given to the Knights of Malta in the sixteenth century.
If it was not for Empress
Theodora and Sophia the concept and value of Mary Magdalene may have never
survived in the form we see today. The secrets of San Vitale and its octagon
both help to protect and expose this information to those who are capable of
figuring it out. The Secrets of Rennes le Chateau may also have many more veils
to be pierced before any conclusion can be made in its entirety with regard to
such a place or its real association with Mary Magdalene. There are many hints
at Rennes le Chateau including the presence of a common set of symbols
associated with those who may follow this Rosicrucian value of Mary Magdalene,
St. James, and St. Andrew.
It is important to emphasize
the fact that Theodora was a weaver. This is a profession associated in Greek
mythology with many tales relative to the importance of Women’s roles in that
culture. Athena was the Goddess of weavers and that art was always associated
with Women. Sophia is analogous to Athena and was also Theodora’s niece’s name
who followed Theodora as Empress of the Byzantine Empire. The art of weaving
was identified with gnosis and wisdom yet in ancient Egypt weaving was done by
Males. In Greece it is almost suggested that weavers held a kind of respected
yet mystical role.
In the tale of the Minotaur
it was Ariadne who spun the clew that allowed Theseus to find the middle of the
labyrinth and exit safely. Again in the tale of the Odyssey Penelope the wife
of Odysseus continually weaves to avoid the advances of the many suitors that
came to win her hand. The name Ariadne is the root origin of Arachnid or the
name for insects we call spiders. Spiders weave. Spiders also commonly have
eight legs suggesting a value of the octagon. Occitan. Langue d’oc.
“Metamorphoses” was written
by Ovid in the sixth century at a time when Theodora was still alive. This tale
tells the saga of Philomela who is brutally raped with her assailant also
cutting her tongue out. Using the craft of weaving Philomela tells the story of
what happened to her to her sister Procne thus enabling her and other weavers
to take revenge on the rapist. All of these stories may serve to illustrate how
this craft practiced almost exclusively by women could later be adapted to hide
the secrets of Mary Magdalene and other information.
Again this may lead us to
some additional assumptions about the Tapestry of Creation in Girona that does
illustrate a Byzantine motif in far off Spain. The suspicions of many scholars
as to the information included in textiles are hampered by how they deteriorate
over time. Parallels have been drawn between information that was hidden in
weaving and that hidden in ceramics or pottery leading to a great deal of
speculation as to the similarities between both arts in this realm.
Any analysis of Theodora,
Mary Magdalene, and the art of weaving may not be complete without examining
the phenomena of the Cathars in Southern France. Some scholars place the
origins of the Cathar philosophy in the Byzantine Empire yet its exact
beginnings are unknown. Many cite an alternate name of the Cathars being “The
Weavers.” Weaving was indeed part of Cathar values and likely also included the
tradition of hiding secrets in their designs.
This is an amazing correlation to a later faith that espoused many seemingly Coptic beliefs coupled with other notions such as the world being ruled by “Rex Mundi” or the evil one that is the antithesis of the real God. It is said that many of their traditions are hidden in the art of weaving harkening us back to the mosaics of San Vitale that display Theodora, her Sister, and Sophia all whom were adept at the art of weaving as part of their training. Even in this mosaic representation of the Empress and her court’s clothes there seem to be revelations that may relate to the origins of the Cathars. It is also nearly certain that the mosaic artists of many eras may have practiced a similar encoding of concepts into their work.
This is an amazing correlation to a later faith that espoused many seemingly Coptic beliefs coupled with other notions such as the world being ruled by “Rex Mundi” or the evil one that is the antithesis of the real God. It is said that many of their traditions are hidden in the art of weaving harkening us back to the mosaics of San Vitale that display Theodora, her Sister, and Sophia all whom were adept at the art of weaving as part of their training. Even in this mosaic representation of the Empress and her court’s clothes there seem to be revelations that may relate to the origins of the Cathars. It is also nearly certain that the mosaic artists of many eras may have practiced a similar encoding of concepts into their work.
Is it possible that Theodora
had wielded some sort of influence over the beliefs of the Cathars? It had been
over five hundred years since the Empress had passed. If these ideas had in
part come from Theodora and Sophia they had to have left a mechanism in place
to help this concept stay vital. Theodora and Sophia represented an incredible
amount of female power in an era in which it is generally thought that this did
not exist. Weavers may have left clues creating a web of mystery involving the
number eight of the spider.
In western cultures this may
be one of the last examples of a strong women ruler among a male dominated
Latin Church to the west. All of the pieces are there to suggest that the
Weavers, Theodora, and Sophia had many concepts in common that may not be
easily recognizable from one era to the next yet do exist. It is possible that
a secret society or organization was left behind to ensure the survival of the
information and creed that may have started with Theodora or even earlier
Coptic notions of a women’s role in spiritual matters. It is possible that one
of the more ingenious aspects of hiding this information included it being
veiled in common artwork and architecture that could be decoded by initiates of
those mysteries.
Via the art of weaving it is
likely that some of these concepts had made their way to the Cathars even
though it had been long after the time of Theodora and Sophia. Though the
values of the Cathars are not strictly Coptic or Eastern in character the
similar parts may have come from any wisdom encoded into woven fabrics and
textiles that they knew how to read so to speak. It is also possible that other
factions had also learned to encode mystery school beliefs into their work yet
the themes that the character of Mary Magdalene’s image are built upon are
present in both the values of Theodora and the Cathars. These similarities may
serve to illustrate the truth in some scholar’s view that Cathars philosophy
had indeed begun in the Byzantine Empire and that Sophia and Theodora were in
large part responsible for the remembrance and value of Mary Magdalene.
Some researchers speculate
that at the final siege of Montsegur that a cadre of a few Perfecti of the
Cathars escaped with some items of immense spiritual importance. Further
speculation states that among these items were the “Holy Grail” as well as
important hidden information unique to the Cathars. The debate rages with
regard to what the Holy Grail truly is even though medieval and renaissance
literature refers to this item as a chalice or from another perspective the cup
that Christ used at the last supper. Interestingly Theodora’s mosaic shows her
holding a large golden jewel encrusted chalice. Is this rendering symbolic of
the Holy Grail suggested as a metaphor for Mary Magdalene and the Bloodline of
Christ? Is it possible that the Cathars version of the Holy Grail was a
tapestry that contained all their secrets?
Given the subsequent lore
and mythology of Mary Magdalene later in history one would be forced to
consider the possibility that the appreciation of Mary Magdalene as included in
a mystery school belief of bloodline is associated with Theodora and Sophia.
These women may have taken steps that were very involved and complex to ensure
the truth of Mary Magdalene would be exposed to all at some point later in
history. Many events and movements through history could have been part of this
hidden or cloistered information. At certain points it had obviously been
dangerous to openly practice a belief that included a feminine aspect.
Recent interest in the
Cathars is in no small part due to the figure and character of Leonardo Da
Vinci. A great deal of speculation has gone on that suggests that he left
hidden themes and images in his works. There is in fact a mystery associated
with a series of paintings by Leonardo entitled “Madonna of the Yarn Winder.”
Many art historians point to the theme of the painting and the inclusion of the
yarn winder as being a reference to the Cathars. It is known that Leonardo held
many alternate beliefs similar to those of the Cathars who also existed in
Northern Italy where the artist spent a great deal of his life. It is not out
of the question that Leonardo had been exposed to some of these concepts of the
Cathars or Weavers including encoding messages in his artwork.
Further speculation may
include the possibility that Leonardo was a member of whatever mystery school
or secret society that had also dictated the existence of the Weavers. In short
Leonardo may have been an adherent of the hidden philosophy of Theodora and
Sophia. In fact later some sources point to how the Knights Templar and other
orders valued what is known of as the Pistis Sophia. We have already noted how
explorer James Bruce assembled ancient manuscripts that comprised the more
modern version of the work that had been familiar later in Europe. Bruce had
actually collected these manuscripts from Alexandria, Egypt where Theodora had
been exposed to the Coptic teachings that seemed to echo through the ages to
James Bruce via others like Leonardo. It may be that in his works of “Madonna
of The Yarnwinder” Leonardo is telling us of a legacy that harkens back to
Theodora, Sophia, and the Egyptian Coptic beliefs that these two powerful
females held.
There are two paintings of
“Madonna of the Yarnwinder” that are considered by art analysts to have been
done by the hand of the Master. Each painting displays a similar scene of Mary
seemingly attempting to take a yarnwinder in the shape of a cross from the
infant Jesus who seems reluctant to let her have it. One painting that is
considered entirely authentic is known of as the Buccleuch Madonna and displays
a landscape background that includes a large body of water with an island
included. The second version of “Madonna of the Yarnwinder” is thought to have
been partially completed by Leonardo with one of his students completing the
work. The background of this painting is different than the Buccleuch version
in that it includes what appears to be a snow covered Alpine mountain setting
in the background. This painting was so popular that nearly forty copies were
made by noted artists over the years with many of these also being highly
valued by collectors.
This painting is thought to
display some of Leonardo’s alternate dualist philosophy. He is named as one of
the Grand Masters of the possibly fictional Priory of Sion and his work has
spawned an entire market of speculation involving his legacy of mystery. Many
gnostic scholars believe that Leonardo is referring to the Cathars in this
painting. The Cathars also occupied northern Italy where Leonardo spent a
significant portion of his life so he may have been exposed to some of their
ideas even though he lived at a later time. Leonardo is telling us that he is a
Weaver and is entirely aware of their legacy possibly including the influence
of Sophia and Theodora.
It is more than possible yet
probable that Leonardo was aware of or had visited the amazing mosaics of San
Vitale himself and had seen the same imagery noted here. A man of such
awareness and intelligence would have known the history surrounding these
mosaics and would have understood the millennial and hidden themes of the
works. He lived in a region that had
seen the ebbing and flowing of many different forms of Christianity including
the Arian and gnostic faiths that were prevalent in that era. The fact that
Leonardo is suspected of encoding many things into his work suggests a
tradition at play similar to the Weavers and also what we may see in the
establishment of the symbols associated with the United States later. These
symbols were also propagated and valued by the family groups that owned both of
these paintings that also played a major role in the history of the American
Colonies and the United States of America.
The Buccleuch painting is
thought to have once been owned by Louis XII or his secretary Florimond
Robertet. The painting is thought to have been in the possession of the Buccleuch
family since its purchase by the Duke of Montagu in 1756 from French collector.
Prior to that its whereabouts were not known and was thought to have been lost
in the French Revolution. The painting is now the part of the collection of the
Scottish National Gallery in Edinburgh.
The second painting done
partially by the hand of Leonardo is known of as the Landsdowne Madonna. The
ownership of this painting is also interesting through its history. This piece
is known as the “Landsdowne Madonna” because it was owned by the Marchionesses
of Landsdowne for most of the nineteenth century. Next it came into the
possession of a man named Cyril Flowers. Flowers by chance had married into one
of the most powerful banking dynasties in the world. Flowers’ title was Lord
Battersea and he was married to Constance Rothschild daughter of Sir Anthony
Rothschild, 1st Baronet. Next the painting came into the possession
of Robert Wilson Redford who married into one of the more influential Scottish
families The Drummond’s.
The Drummond’s were also
among the First Families of Virginia and from the same community as our interesting
Hill family related to both the Marquis of Landsdowne and George Washington.
The Drummonds are often linked with regard to strange interpretive artwork such
as the Jerusalem Stone pyramid at Stirling built by William Drummond the
Ethiopian explorer. The Drummond and Scott families may also have been involved
in the development of the Great Seal of the United States and other engraving
and artwork with many hidden interpretations.
An amazing correlation
exists between the Marquis of Landsdowne, The mysteries of Williamsburg and
Jamestown extending even to the Oak Island Treasure mystery. The illegitimate
son of the second Marquis of Landsdowne was named William Hill. His daughter
Mary wed Reade Colonial Governor of Virginia. William Hill is also said to be
related to the earlier Hills of Jamestown who are also related to George
Washington and several other influential First Families. William Hill was from
the same group of Hills that later settled in Alexandria, Minnesota. Both Hill
groups are related directly to Samuel Hill who created the Maryhill Museum of
Art, Maryhill Stonehenge (replica WWI memorial), The Peace Arch on the border
of Canada and the U.S. and the Palace of the Legion of Honor Art Museum in San
Francisco. With this in mind it is no surprise that their family legacy also
includes ownership of the “Landsdowne Madonna.” The Marquis of Landsdowne
appeared to have a distinct inside track into understanding many of the
mysteries we examine here.
In addition it appears as if
the Henry G. Hill that was part of the Oak Island El Dorado Company is also
related to the Marquis of Landesdowne. The Marquis of Landsdowne were also
involved in the development of Nova Scotia and Newfoundland. One Hill even
served as Governor of Newfoundland directly after the departure of Lord Calvert
(Baltimore) for Jamestown after his attempt at colonization failed. Still
another Hill would be named Governor of Newfoundland during the mid nineteenth
century
It appears as if the Marquis
of Landsdowne were aware of many of the mysteries afoot in this era of Canadian
and United States history via their connections to individual families such as
the Hills who indeed appear to be kin to them as well. How could this single
family be involved or appear to have knowledge of so many unanswered questions
of history? Were they looking for treasure or creating an intentionally false
narrative? How did they know all this?
The Marquis of Lansdowne and
the Buccleuch family both have the pedigree to have knowledge of and be interested
in the mysteries of Leonardo or any mystery suggested by his works. The same
may be said of whatever interest they had in goings on in Williamsburg and
Minnesota. Many of their actions and places they valued showed interest in are
associated with different treasure myths or tales of lost relics and
information. Their possession of “Madonna of the Yarnwinder” also displays this
value of unanswered history and mystery. Is it possible that these people had a
belief in Mary Magdalene via this possible relic of what Theodora and Sophia
had done or valued during their lives? Moreover does their fascination have
anything to do with Oak Island or any of the other places they showed interest
in?
Interestingly the Buccleuch
Madonna though not owned by Landsdowne and his Nova Scotia connections,
displays a landscape that includes what appears to be a bay connected to the
ocean that even includes a small Island in the background. Here we see a scant
clue that this painting may have been thought to display Oak Island by its
owners. If this were true then it may mean that even Leonardo was aware of
whatever was at Oak Island. Given what we have learned of possible interest in
Oak Island and North America at large of the part of Trajan, Constantine, and
Frederick II it may be true that Leonardo had knowledge of what ever secrets
the Landsdowne’s and Bucceleuch’s had become privy to later in history.
Leonardo lived in an era past the time all of these men lived yet during an
time when some of these important octagonal structures were being built such as
the octagons of Heidelberg Castle that Prince Rupert would later learn of. Leonardo appears to have had an intellect on
a par with Michael Scot and other earlier magi so we may assume that even
spherical geometry would have been easy for such a person.
The value of Mary Magdalene
is apparent in several strong female figures in later in history. The struggle
between Catholic and Elizabethan interests gives us two strong examples of
possible acolytes of Mary Magdalene in the person’s of Mary Queen of Scots and
Mary Sidney Countess of Pembroke. Both of these women were known to enjoy the
art of embroidery and both were strong women that had likely been exposed to a
value of the Magdalene via their upbringing and social status in England,
Scotland, and France.
Part II: The Jacobite Movement and the
Weaving of Mary Queen of Scots.
On the surface any
examination of early colonial history included in what would become the United
States could be attributed to the activities of Queen Elizabeth I and her
successor James I. Hidden in the mix is the legacy of Mary Queen of Scots the
mother of James I. Mary was Catholic and had been raised in France since a
young age in part by Marie of Guise. Many of the Catholic Jacobite faction of
the colonies valued Mary Queen of Scots as a symbol of their faith and the true
blood of the English Monarchy. It was mainly because of Mary’s Catholic faith
and her right to the crown that caused her end.
It may be that Mary Queen of
Scots displayed some of the hidden tenets of a hidden or mystery school value.
We have already witnessed this in the confidant and court member of Elizabeth I
Mary Sidney Countess of Pembroke. This era would see the involvement and
influence of these intelligent and powerful females possibly extending to the
realm of appreciation of Mary Magdalene in a descent from the philosophies and
beliefs of Empresses Theodora and Sophia. It is also possible that the concept
of the Pistis Sophia also valued by many Freemasonic and Templar orders
contributed to this alternate belief at this time.
In addition to their
powerful roles that may explain the value of an equally strong and impressive
woman in the form of Mary Magdalene, these Women also displayed a knowledge and
heritage that directly involves the legacy of Theodora and her cadre of weaving
nuns. It seems that Mary Queen of Scots had been trained in the arts of weaving
and embroidery by her mother Marie of Guise. Both Marie and Mary also seemed to
have been instructed in this craft at the St. Clare monastery of nuns near
Paris France. This may be suggestive that both the famous name of St. Clare/St.
Clair/Sinclair may also be associated with the actual namesake of the monastery
as well as the legacy of the weavers in the tradition of Theodora and the
Cathars.
While in captivity Mary
Queen of Scots finished several beautiful examples of embroidery several of
which were combined into a tapestry. Many of these panels depict wild life and
domestic animals such as “a catte.” Some of the panels do communicate seemingly
gnostic or hidden themes.
One panel displays the
Phoenix bird rising from the ashes. This is also a theme later associated with
the Great Seal of the United States and the Drummond family of Stirling and the
Virginia Colony. Masonic teacher and philosopher Manly P. Hall also emphasizes
the role and symbol of the Phoenix as a metaphor for a new world rising from
the ashes. The Jacobite concerns that created the United States also adapted
this symbol as a metaphor for their monarchy being re-established in the
Americas despite it being replaced with the Hanoverian German nobility we see
in England today. In fact the fallen kings of Norman Italy and Wales likely
also valued this symbol in this context.
Among the panels on Mary
Queen of Scots embroidered tapestry is one in particular that seems to contain
many of the symbols present at many different phases and times of this mystery
all present in a single symbol. These symbols are present on the Kensington
Rune, the logo of the College of William and Mary, the Royal burial slabs of
Monaco, Palacio Monctezuma in Spain, St. Sulpice in Paris, and gravestones at
Rennes le Chateau. The Auspice of Mary symbol also is used to denote a
consecrated place by the Church.
Each panel of Mary’s
embroidery is situated inside an octagonal framed area that is also
embroidered. As our studies show this shape is sacred and applies to many of
these concepts value in a clandestine manner. It is almost a sign that says
“There is mystery here.” The panel in question contains a large sun face
similar to that seen on the Aztec Sunstone and Great Cyclic Cross of Hendaye.
This design may indeed be alluding to the millennial themes of the Great Cross
and Aztec Sunstone. It is likely the Sunstone would have been known of and
wondered about by people of the class of Mary Queen of Scots, Mary Sidney, and
Sir Francis Bacon.
Interestingly the panel also
depicts a specific type of plant that appears to be a Scottish Thistle. This is
the representative flower of Scotland and the namesake of the Order of the
Thistle the Scots Royal Order. As discussed the collar of the Order of the
Thistle includes the Auspice of Maria and X seen at these many different places
that also include the legacy of the
family both before and after Mary Queen of Scots. Strangely this vegetation
also resembles the style of illustrations in the much written of and unsolved
Voynich Manuscript. Many attributes John Dee or Edward Kelly with the
production of this strange book that depicts a great deal of plant like and
other undecipherable artwork. This is
the same era of Mary Queen of Scots.
The most impressive element
to this octagonal pattern containing a sun face is a smaller octagonal design
located in the upper right hand quadrant of this panel. This octagon is
embroidered in red so as to stand out in comparison to the background. Within
this octagon is the Auspice of Mary symbol that extends beyond the frame of the
octagon creating the “Hooked X” omega symbol of the Chi Rho. This design also
contains the AVM letters representative of “Ave Maria.” It is almost as if Mary
is telling us what this all means in one tidy little package that refers to
several other places that has already been noted in previous works by this
author as being directly involved in the mysteries that are associated. Here in
one unique and discreet package is a compilation of all of these symbols that
even relates it to the octagonal form as valued in the use of the Axis and
Templum.
The presence of this symbol
may indicate a value of Mary Magdalene and St. Andrew in the ways that were
discussed earlier. How did these symbols end up on the Kensington Rune? A Rune
that seems to be associated with the octagons of the Newport Tower,
International Peace Garden, and Dome of the Rock. All three of these places
given theories presented here point to the use of these octagons to legally
describe property and stake out a spiritual domain of the design of its
creator. Mary Queen of Scots was aware of this and she is telling us so using
the ancient craft of weaving as propagated by Empresses Theodora and Sophia. Her
direct progeny Charles I would built the octagonal Kings Knot at Stirling
Castle. Believe it or Not many things about Rennes le Chateau are telling us
“Stirling Castle.”
The art of weaving goes hand
in hand with the hidden secrets of architecture and artwork. It is not out of
the question that Mary Queen of Scots would hide some of her values and secrets
using this ancient craft. These works were done while Mary was imprisoned or
detained prior to her beheading. This is the time frame during which Robert
Beale served as liaison between Mary and Queen Elizabeth. Mary was said have
been quite fond of Robert Beale and gave him the gift of a diamond necklace at
this time. Could this necklace be the true “Beale Treaure?”
It is likely that the
colonial family of Robert Beale serves as the namesake for the famous Beale
Treasure of Virginia. Aspects of the Beale family are also closely associated
with the story of the Bruton Parish Church Vault in Williamsburg also referred
to as “Bacon’s Vault.” In the personages of Robert Beale and Mary Queen of
Scots we see one of the primary symbols of the Jacobite movement coupled with
this octagonal Auspice of Mary rendering associated with a family that is known
to be involved in two of the most well known treasure mysteries of Colonial
Virginia if not the entire United States. Hmm?
These concepts also apply
directly to the supposed treasure located on Oak Island Nova Scotia. It appears
that any notion of a real treasure on Oak Island has been distorted from this
folklore and mythology. Why are there treasure myths involving Sir Francis
Bacon at both Williamsburg and Oak Island. Has the imagery of Bacon been
mistakenly applied to Oak Island where it did not even exist in the first
place? Why do different members of this family group keep popping up in
association with each of the places that include this type of mythology and
folklore? Some of the more down to earth theories concerning Oak Island involve
it being repository for royal gold or the site of a business venture run by one
of the family (Steele 2014).
Theodoric the Great, Empress Theodora,
Ravanna, and the Cult of Mary Magdalene
Flavius Theodericus or Theodoric
the Great (sometimes Theodoric) may represent the key to understanding the
historical context under which the Rennes le Chateau mystery and Culture of
Mary Magdalene were propagated for later generations. Note the inclusion of the
name Flavius as part of his name. This is either a tribute to the Flavian dynasty
of Rome by using their name as “King” or is Theodoric somehow related to
Constantine or the Flavians?
Theodoric was educated in
the Byzantine Royal Court of Emperor Zeno. He was a hostage in political
negotiations between Theodoric’s father and Zeno. This aspect of his life would
lend him a great understanding of Byzantine ways and military tactics. Though
his Arian faith sometimes put him at odds with the Empire he would proceed
through his life with an abiding respect for them and their royal heritage
including Constantine. Theodoric’s Byzantine connections may explain the
inclusion of “Flavius” being part of his Latin name.
Here within Theodoric’s
relationship to Byzantine Ruler Zeno may be the origins of the value of the
term “Arcadia” in a way that is suggestive of its use by Charles I, Philip
Sydney, and it application in the Rennes le Chateau and Shugborough Hall
mysteries later in history. Interestingly Zeno’s first wife was named Arcadia.
Though there are no records of this it is highly possible that Arcadia was
descendant of Emperor Arcadius who had ruled about 80 years prior to Zeno.
Arcadius did indeed have a daughter named Arcadia as well so we may see how
this name and concept came to be associated with the Byzantines and their Greek
Culture. Obviously the name “Arcadia” and “Arcadius” derived from the myth of
Arcas and the Greek province of Arcadia. During Roman times the entire
Peloponnesus was referred to as “Arcadia.” The name of Zeno’s wife at the least
was likely in veneration of Emperor Arcadius and his daughter Arcadia. We shall
see how if his daughter Arcadia was somehow descendant of Emperor Arcadius the
way she is of Merovingian blood.
During Theodoric’s time in
the Byzantine Royal court it is possible that he became acquainted with both
Arcadia and her daughters Hilaria and Theopiste. Zeno had one son named Zenon
with Arcadia. Taking into account what we know about Rennes le Chateau and how
the concept of Arcadia was applied there it is amazing that a unique spatial
relationship may exist between Rennes le Chateau and Basilica San Vitale that
involves the concept of Arcadia. In addition we will examine the overtones of
how Theodoric once ruled Septimania where Rennes le Chateau is located. One of
these reasons may revolve around how Ravenna was the center of the Christian
and Military power of the Byzantine Empire in Rome.
Throughout the history of
the Byzantine Empire a unique trade relationship existed between Venice and
Constantinople. At various times the Republic of Genoa and Venice would compete
for trade with the Byzantine Empire and they would even set up trade bases in
what is today now Greece. It may even be true that Christopher Columbus was
from the Greek Island of Axios as he was associated with the Republic of Genoa.
The crosses seen on the sails of Columbus’ ships in many renderings are likely
actually the St. George’s cross of the Republic of Genoa.
During the fourteenth
Century a family known as Zeno became one of the more powerful trading families
of Venice. Later two Zeno brothers would also be part of this saga by claiming
that they had travelled with Henry Sincliar to North America though this is
hotly disputed. Much of the evidence is shaky and their narrative is full of
holes and wrong places names. Still it is amazing that we see the Zeno name
being associated with the concept of Arcadia and later explorations associated
possibly with Henry Sinclair. Previous works have discussed the involvement of Sinclair
via his nephew William Sinclair who disappeared at the Battle of Teba in Spain
with Sir James Douglas who carried the Heart of the Bruce into battle against
the Moors. Is it possible that the Zeno brothers were somehow descendant of
Byzantine Emperor Zeno? This connection would make sense given what we are
about to learn here.
Though many credit Justinian
I with the architectural and artistic wonders of Ravenna this assumption is
only partially true. Basilica San Vitale itself was nearly complete by he time
Justinian I took temporal control of Ravenna the year Theodoric passed. The
Mausoleum of Theodoric is also an amazing structure that includes one of the
largest single cut stones in the world. A somewhat more modern megalithic
wonder. Some speculate that the techniques used to build his mausoleum included
more ancient Roman techniques that may have been employed at Baalbek and other
sites including megalithic stones.
Within the architectural
wonderland of Ravenna lies Basilica San Vitale inspired by the Tower of the
Winds of Athens and the octagons of Constantine including possibly the Dome of
the Rock. Basilica San Vitale was indeed built prior to the Dome of the Rock
and may have in part contributed to the legacy of that octagonal structure. Given
its octagonal form it may be that this structure was built as a Prime Meridian
or Axis Mundi meant to mark and establish a temporal domain. This concept is
also repeated in the octagonal array of St. Peter’s Square including its
Egyptian obelisk and windrose markers emblazoned with compass directions. Basilica
‘Sant Apollinaire Nuevo is also home to some revealing artwork and also may
have inspired the design of the Church of St. Mary Justinian located on the
Temple Mount in Jerusalem. This church is known today as the Al Aqsa Mosque. Some
sources state this building was occupied by the famous Knights Templar during
the Latin Kingdom of Jerusalem.
In many ways during the
heyday of the Byzantine Empire Ravenna was the center of the Christian faith in
Italy if not the entire Empire. The Arian and Eastern sensibilities of much of
western world at this time were at odds with the Latin Church of Rome. Indeed
later during the reign of Justinian I we can even see distinct differences in
the professed faiths of Justinian and Empress Theodora. Theodora had been
exposed to many gnostic and mystical concepts in her religious experiences
learned during her life in Alexandria Egypt.
Both the values of Theodora
and Theodoric were such that they may have included a belief in gnostic gospels
and hidden information including that regarding Mary Magdalene as the wife of
Jesus Christ. Both of their belief systems have direct ties to Alexandria Egypt
and the kind of gnostic concepts that may not have been totally eliminated in
the fifth and early sixth century era of which we speak. Many aspects of
Justinian I era display tenets of a conflict between the Latin Church, Eastern
Church, and alternate Christian beliefs such as Arianism.
Some of the more gnostic
concepts valued by Empress Theodora were reflected in the Arian faith of
Theodoric the Great who lived at the same time as the Empress. Arians believed
in Christ as a gifted human being who had shared his thoughts in both deed and
as an example to all of us in the name of God. These views are much in line
with some of the views of Theodora possibly coupled with gnostic teachings she
may have been exposed to in Alexandria. Both Theodora and Theodoric also
coincidentally have similar names. If the Arians believed Christ was a man
would it not also follow that they believed he had a wife and possibly
children? This does make sense and is illustrated in some of the amazing family
ties that Theodoric held.
Discussed earlier is how
Theodora and her niece Sophia (Wisdom) may have created sects of weaving nuns
who may have hidden these concepts in their art. Even Mary Queen of Scots may
have been trained in the art of weaving by her mother Marie of Guise at the St.
Clair monastery near Paris. All of these concepts would set the stage for later
mysteries involving the Magdalene at Rennes le Chateau and other places. Over
time there is a distinct pattern of those holding a belief that they may have
been related to Christ or Constantine or both having created initiatory paths that
told the truth of what they actually believed. In so doing they were repeating
a pattern of mystery school activity and intrigue that had been played out by
many persecuted or secret groups before them. In turn we some of these concepts
including a value of the secrets of weaving being displayed by the Cathars who
in large part occupied the region that was once known as Septimania in France
and Northern Spain.
Theodoric the Great was
married to Princess Audofleda sister of Merovingian King Clovis I. This
obviously means that all of their progeny were also Merovingian blood. Though
Theodoric’s line ended two generations later this will prove to be an
interesting link to the Rennes le Chateau mystery. This marriage also provides
us with a link directly not only to Theodeoric but Byzantine Emperor Arcadius
whose daughter was also named Arcadia.
Clovis I is the grandson of
Mellobaud one of the first Frankish Kings. Another son of Mellobaud is Flavius
Bauto the father of Aelia Eudoxia who married Emperor Arcadius. Though
confusing it appears the Bloodline of the Merovingians stemmed from Mellobaud
whose son Richemar in turn spawned Clovis I. In short the blood of Aelia
Eudoxia is Merovingian and had now been included in the Byzantine throne as
wife of Arcadius whose name is strangely reminiscent of the entire concept of
“Arcadia” as we see it applied at Shugborough Hall and Rennes le Chateau.
He we have now established a
direct genetic lineage between the Merovingians and Byzantine royalty.
Theodoric’s marriage to Audofleda now linked him to this bloodline of former
Byzantine rulers. This displays how Byzantine Emperor Arcadius had married into
the Merovingian dynasty. All of their children as well as those of Theodoric
would thus be Merovingians. Here we may be exposing for the first time many
hidden aspects of what would later apply to places like Rennes le Chateau. The
Byzantines had intermarried with the Frankish rulers of the Merovingian
Dynasty.
Many feel that the Rennes le
Chateau mystery is rooted in the notion that the remains of the last
Merovingian King Dagobert II are hidden somewhere in the Rennes le Chateau
area. This idea also has led many to postulate that the remains of Mary
Magdalene, Jesus, Joseph of Arimathea, or the Temple Treasure is stashed
somewhere in the “environs” of Rennes le Chateau. All of these myths in turn
have much in common with the “Man in the Mountain” mythology of Charlemagne and
the Rosicrucian Order. So here we have our first inkling that things in Ravenna
may be related to what is going on at Rennes le Chateau. As stated above we now
have a direct genetic link between the Merovingians, Theodoric, and Byzantine
Royalty. It also appears that the Merovingian belief in the blood of Christ did
not emerge until after this family’s interphase with Byzantine Royalty. Is
there more?
As it turns out the region
of Septimania was ruled by Theodoric the Great for about a 27 year span and
after that by his Merovingian family relations. Of Course Rennes le Chateau,
Montsegur, Barcelona, Montserrat Monastery, Girona, and many other places of
note in our studies are included within the geographic bounds of what was once
Septimania.
Any seasoned Rennes le
Chateau fanatic at this point does not need to be schooled in how many people
believe Mary Magdalene is central to the belief system being expressed there.
She may be either viewed as a reality or metaphor for real events that involved
people who may have felt they had descended from her. In the past I have
speculated geographic spatial relationships between Basilica San Vitale and
some well known Rennes le Chateau landmarks.
If one creates an arc on the
globe from Rennes Le Chateau Chapel to Basilica San Vitale in Ravenna this
“line” on the globe transects Chateau Blanchefort thus also transecting the two
tips of the star in Henry Lincoln’s analysis of the landscape there. The
pentagon formed by this pentagonal array “points to” Basilica San Vitale. This
arc on the globe also transects the village of Arques (Arcas thus Arcadia).
Though seemingly a grand coincidence this array matches the mythology and
history of how and why Basilica San Vitale may be used to interpret some of
these concepts at Rennes le Chateau.
So while many have scoffed
at the notion of Basilica San Vitale being related to Rennes le Chateau here
now is a clear path as to why Theodoric may have valued what we see being told
or taught to us later via the Rennes le Chateau phenomena. His wife and her
children were directly related to both all of the concepts displayed there and
several of the subsequent Merovingian rulers whose domain included Rennes le
Chateau. Where in this story are the Blood of Christ and Mary Magdalene not
being suggested to you in a very grand way? In both Ravenna and Rennes le
Chateau? By a ruler whose domain included Rennes le Chateau later ruled by his
Merovingian relatives? Boom. Though he may not adhere to what is being
presented here even Henry Lincoln suggests his pentagram is being used to
establish a domain in this tradition.
It is clear that both
Theodora and Theodoric believed or valued concepts associated with gnostic and
hidden wisdom or Sophia that are laid bare when one delves into the mysteries
of Rennes le Chateau. All of this ties directly to Theodoric’s Arian Faith and
Theodora’s eastern or possibly Coptic beliefs.
If history is correct then
this bloodline eventually led to the Plantagenet dynasty of Norman England and
France. Eventually we are led to the era of Sir Francis Bacon, Philip Sydney,
Charles I, and Arcadia. Charles I last words are from a work entitled “Arcadia”
by Philip Syndney. It appears now that Charles was expressing a sentiment that
may have included many blood tie overtones leading us all the way back to the
Royal Courts of Clovis I and Emperor Arcadius. “Et in Arcadia Ego.”
Knowledge of all of these
concepts are displayed in the art collection of Thomas Jefferson and many
others of his class during their era. An understanding of the technicalities of
this kind of cartographic global game would have also been child’s play to
Jefferson and the magi of the court of Justinian and Theodoric. There are many
of this age including Alexander Von Humboldt, The Cassini Family, Edgar Allan
Poe, and Antoine and Arnaud d’Abbadie to whom it would have been very easy to
decipher or replicate these ideas.
None of these people hid
anything. It was all left there for you………..in a very enduring and monumental
fashion.
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